Gasser

Grand Hotel (1932)

Grand Hotel has the distinction of being the only movie to win the Best Picture Oscar and be nominated for nothing else. The fact that it drew no acting nominations is notable given the star-studded cast, but it is true that none of the actors really stands out. Perhaps they were all too evenly matched.

Grand Hotel endeavors to be a story about the comings and goings in a high-end Berlin hotel, but it belies its own motto –“Grand Hotel… always the same. People come, people go. Nothing ever happens.”– in the events depicted for us. We are first introduced to the handful of characters the story follows via a series of edits between their respective phone calls in the hotel lobby. We learn Otto Kringelein (Lionel Barrymore) has only a few weeks to live and is blowing his life savings enjoying them in an expensive hotel. The Baron (John Barrymore) telephones an accomplice explaining a need for more funds and referencing a theft he intends to commit. General Director Preysing (Wallace Beery) is working to close a merger that will be lucrative for him by relies on his company’s partnership with a French firm. And famed Russian dancer Grusinskaya’s maid telephones to say the ballerina is ill.

The hotel acts as a catalyst to allow the overlapping of these various lives, who infinitely influence one another but then part as they do the hotel. Also entering into the scene is Flaemmchen (Joan Crawford), a stenographer sent for by Preysing. Before he is ready for her to begin working on the merger documents, however, Flemm waits in the hall where she is approached by the Baron with amorous intent. They agree to meet the following evening for dinner and dancing. The Baron has previously met Kringelein and decided him a fine chap, creating a fast friendship. Kringelein approaches the couple in the hall and makes friends of Flemm as well. Also caught by Flemm’s looks is Preysing, once he’s ready for her to begin work.

Before the Baron can meet up with Flemm for a romantic evening, however, he will enter the room of dancer Grusinskaya (Greta Garbo) to abscond with her pearls. He sneaks in through a balcony window –two rooms down from his– but finds himself trapped when the depressed ballerina abruptly returns. In the dark room he sees her contemplating suicide and opts to intervene. In the ensuing hours, the two fall in love.

Flemm has by this time fallen in love with the Baron and finds herself disappointed in his new mood. Grusinskaya is leaving for Italy in a day and in order to accompany her, he must come up with money for train fare, a subject making him rather depressed. Flemm occupies herself in looking after the ailing Kringelein and in resisting the advances of Preysing. This businessman happens to own the factory in which Kringelein once worked and proves himself a royal ass by mistreating him in the hotel. Flemm will nevertheless consider leaving town on the arm of Preysing, but ultimately walks out the doors of the Grand Hotel with another man.

Grand Hotel, which was based on a play, is a great film from a technical standpoint as well as the somewhat esoteric relevance of its story. To the average viewer, the movie comes off as rather boring with seemingly no moral or sense of satisfaction at the close. But the point of the plot is about the random meeting of people and the indelible effect they have on one another. Flemm enters the hotel a stenographer and leaves as a mistress of sorts. Grusinskaya enters horribly depressed with her career faltering and leaves on cloud nine after a fantastic performence the night before. Preysing enters on the verge of a profitable deal and leaves in worse than ruin. Only Kringelein enters and exits with equal levels of joy; although, he departs with more money and company than he arrived. If there is any moral center to the story, it is Kringelein.

As I mentioned, the acting is fine, but you could have guessed that by the cast. This is often thought of as a great Garbo movie, but she does not appear in at least half of the action. Her line “I want to be alone” is well remembered, but not particularly meaningful. Garbo was a big star at this point, but audiences were taking a liking to Crawford by this time as well. The two never appear on screen together and had little to do with each other on set especially since Garbo’s scenes were shot on a separate soundstage closed to visitors. Director Edmund Goulding once described the movie as two stories, both centered around women in crisis –Garbo’s depressed dancer and Crawford’s stenographer trying to scrape her way to a better life– with the Baron to connect the plots. I’m not sure I see the movie in that way because I do not view Flemm as a woman in crisis but as a distinctly different type of person bouncing among our main characters.

I love this one, especially the two Barrymores, and Garbo and Crawford are both great although it’s a shame they don’t get any scenes together.That’s an interesting comment from Edmund Goulding that you quote – enjoyed your review.